Tag Archives: art

The Frank Turner experience: part concert, part therapy

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Frank Turner and the Sleeping Souls rocking in concert

Seeing Frank Turner live is as much of a group therapy session as it is a(n excellent) concert.

Frank’s catalogue includes beautiful, poignant song about broken people trying to mend themselves. His words have found many of us at the right time in the right place with the right message. For me, songs like “Recovery,” “The Next Storm” and “Get Better” all lifted my spirits and my thoughts when I really needed it. And looking around the crowd that enjoyed Frank Turner and the Sleeping Souls’ show last night at the State Theater in Ithaca, I was far from alone. Many people were shouting his lyrics back cathartically, while others wore their emotion on their faces, these songs washing over them and making them feel cleansed.

He’s been through a lot himself, known as a man who got where he is by a rather ridiculous work ethic couple with being a charismatic everyman. It comes across in his songs, his shows and, if you want a nice read, his autobiography “The Road Beneath My Feet.” Frank is a rock star, to be sure, but this nervous, angular, foul-mouthed Englishman really feels like one of us.

Frank tells audiences his shows have two rules: “Don’t be an asshole” and “If you know the words, sing.” If you don’t know the words, he says, you can dance. But he also urged the crowd to dance during various songs, so much of the crowd was singing and dancing.

He started with a slow song, the title track off his new album “Be More Kind,” which thematically set the theme for the night. Frank and the band picked things up with “1933,” one of a few tracks on the new record castigating fascists and racists (as any good punk rocker would) and by the time the crowd was sing “we can get better/because we’re not dead yet” from “Get Better,” the show was in full gear.

A smattering of people had their smartphones out taking a lot of pictures and recording, although it seemed like less than an average show. Frank and the Sleeping Souls provide a very immersive concert experience, best not viewed through a tiny lense. Take a few photos to remember the experience, sure — I usually do mine during the first few songs, then put my phone away — but realize this a live and dynamic thing you should enjoy in the moment. In “Don’t Worry,” the first track on his new album, Frank even has a few lines that seem to address the need to spend less time with technology and be more human:

Don’t let your heart get hardened into stone
Or lose yourself in looking at your phone
So many so-called friends
And still you feel alone
You should spend more time with the do’s than with the don’ts

This was an evening about doing and feeling and singing and dancing. Frank inserted a three-song solo acoustic set, which included “Smiling at Strangers on Trains,” a reworking of an old song from his previous band, Million Dead. Then he asked the crowd up front to make a circle and a mosh pit broke out (I was more concerned about my glasses than my body, but we all made it through).

The band closed the set with “Photosynthesis” (the show-closer for some previous tours). During the break before the last chorus, Frank said we had a chance to take this feeling, this positivity forward, that on Monday morning we could go to work or school and choose not to be assholes, to make compassion in fashion again and to simply be more kind. It sounds cheesy to say, but it was actually quite inspirational.

His four-song encore included one last fast dancing song, “Four Simple Words,” before he closed with “Polaroid Picture,” a song about making memories last. He asked the crowd to put their arms on each other’s shoulders, and soon strangers on both sides of me stretched out their arms and smiled. So we were one big, sweaty, happy wave of people swaying side to side together, one more indelible memory during a song about just such a feeling.

The best art is about transformative experiences. For many of us fans, that’s what Frank Turner’s songs mean to our life. Last night felt that way too, where even a solo like me was dancing with hundreds of strangers turned friends. How many of us got up this morning and went to work or school and decide to be more kind as a result? We’ll never know for sure. But what if we did?

 

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music to dance to and feel conflicted over.

As much as I look forward to the annual Best of Bootie mashup compilation (a free download), I do feel conflicted. As a writer and musician, I’m uneasy over the appropriation of other artists’ songs inherent in the process. But as a music fan, I find the tunes very clever and catchy.

While copyright questions persist, postmodernists have long referred to this kind of practice as pastiche, taking other forms of art to produce something new. Most Bootie mashups are two songs put unexpectedly together — such as “Easy Heaven,” mixing The Cure’s “Just Like Heaven” with The Commodores’ “Easy” — that preserve large portions of the original. That said, listening to that song won’t keep anyone from going out and buying a Cure or Commodores album. In fact, these mashups usually make me more interested in buying an artist’s records, especially if it’s an act I hadn’t heard before.

The most famous masher, Girl Talk (who’s not part of these compilations), argues that he takes so many songs for any particular track that the result is a new work he can sell. While few Bootie tracks are as complicated (although “No More Gas” features Rihanna vs. Kardinal Offishall vs. Akon vs. Ne-Yo vs. Estelle vs. Pussycat Dolls vs. Leona Lewis vs. Danity Kane vs. Madonna vs. Timbaland vs. Justin Timberlake vs. Lupe Fiasco vs. Matthew Santos vs. Britney Spears vs. Flo-Rida vs. T-Pain), the mixes are not sold but given away on the Web and at mashup parties. But while the Bootie camp doesn’t profit from the distribution — so they would argue fair use — they do gain a measure of fame and/or notoriety that makes them in-demand DJs at events where they can charge admission. How does one value that, then?

Legal issues aside, the 2008 compilation of 20 songs with 13 bonus tracks is one of the merry pirates’ best efforts. While putting together the soundalike choruses of Wreckx-N-Effect’s “Rumpshaker” and MIA’s “Paper Planes” should have been obvious, producing “Roxanne Should Be Dancing” by pairing classics by The Police and The Bee Gees, or creating the self-loathing lounge sound of “Every Kind of Creep” by mashing up Radiohead and Robert Palmer take a certain kind of genius.

And bonus songs like “Single Ladies (In Mayberry),” mixing Beyonce with the “Andy Griffith” theme, or the marriage of Billy Idol’s “White Wedding” to Chris Isaak’s “Wicked Game” to make “Wicked Wedding” represent creating something quite remarkable while making us look at the originals in a different light. That, to me, does seem a kind of art.

I’m sure people could spend all day arguing copyright vs. fair use and reach any type of harmony. I’d rather spend that time discovering new and interesting music.

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